Atlantic City - Springsteen
Byrnzie
Posts: 21,037
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Byrnzie
Posts: 21,037
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unbelievable my friend. what a show.
would be a great cover.
yes he did.
That it ain't no sin to be glad you're alive
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Any chance you can p.m me a copy?
I love Bruce's acoustic version...
http://www.youtube.com/watch?v=26eO7xZk8I4&feature=related
Cheers. You're a star.
By the way, where's Borgata?
Borgata Events Center, Atlantic City, NJ... :rolleyes:
http://www.gremmie.net/bsides/
There's a copy of Atlantic City by ed at Borgata II in the ed vedder section.
Darkness on the Edge of Town with Bruce was clearly better.
That song would be a perfect cover with the whole band.
http://www.youtube.com/watch?v=i-rhHSw4x6E
hey thanks for posting that...absolutely awesome listening to that track!
"Beer is living proof that God loves us and wants us to be happy."
- Ben Franklin
The Wild, the Innocent, and the E street Shuffle
born to Run
Darkness on the edge of town
Nebraska
Tunnel of Love
"Beer is living proof that God loves us and wants us to be happy."
- Ben Franklin
And my favourite Springsteen album is probably The Rising, which may be 'controversial' to some. I love all of his work and albums - he just sometimes leaves my favourite songs off the actual album
My favourite Springsteen song Byrnzie mate, how you doing?
Troubled souls unite, we got ourselves tonight...
Astoria, Dublin, Reading 06
Katowice, Wembley 07
SBE, Manchester, O2 09
Hyde Park 10
Manchester 1&2 12
This is just g'bye for now...
I think I have a poorly recorded, poorly performed cover of it knocking around somewhere. Needless to say I didn't do it justice.
Hot girl covering the song, woaah!
I wish Ed would record an album on 4-track if he was goes solo again, my favourite PJ Harvey is her demos. Bill Callahan lost something once he allowed tinkering(no gypsys involved).
Elizabeth Wurtzel
Sunday June 22, 2008
The Guardian
http://music.guardian.co.uk/greatlyricists/story/0,,2285865,00.html
'When I was 12 years old, for my birthday my dad gave me an Ibanez six-string acoustic guitar, and my mom bought me guitar lessons at the local YMCA. In a short time, I knew a G7 from a C minor chord, I could pluck out an arpeggio and strum a syncopated rhythm. But it was plain enough: this was not where my talent lay. I would never grow up and be a rock star like my idol, Bruce Springsteen. But soon enough I had another plan: in Blinded By the Light, the whiplash of a lyrical Möbius strip that opened Bruce's debut album he makes mention of "some hazard from Harvard". This meant the Boss had heard of that university, which gave me a new goal: I would get good grades in high school and go to Harvard, so at least I would be at a college that Springsteen was aware of. That's how much I loved Bruce Springsteen. Anything I did was good enough, so long as I could at least peripherally link it to him.
That is the personal history of this particular fan, and somewhere else there is someone labouring for the Johnstown Company because it was mentioned in The River, there is someone with a daughter named Wendy because she is the heroine of Born to Run, there is someone who works down at the carwash (where all it ever does is rain) because that's what the protagonist does in Downbound Train. There is also a girl who comes back whose name is Kitty, a girl who comes out tonight whose name is Rosalita, a girl whose dress waves whose name is Mary. And, hopefully, at the end of every hard-earned day, somewhere someone has found a reason to believe, like all the people do in, yes, Reason to Believe.
My first encounter with Bruce Springsteen, at age 11, was at the 1978 No Nukes concert at Madison Square Garden, when Bruce debuted The River. He introduced this sombre song simply by saying: "This is new." The room got real quiet, and in it he told a terribly sad story of a young couple in love for whom everything just goes wrong: unwed pregnancy, shotgun marriage at 19, unemployment, a collapse in the economy, poverty, until finally both are just dead inside. But no matter how bad things are, the song's narrator and his girl can always take a break and go swimming in the river, the sweet sea of love, the refreshing well of life - throughout this misery, the chorus offers continual consolation in an otherwise continuously dismal dirge. But by the end of the song, even that's gone: the river has dried up. But the singer doesn't care: "Now those memories come back to haunt me / they haunt me like a curse / Is a dream a lie if it don't come true / Or is it something worse / that sends me down to the river / though I know the river is dry / That sends me down to the river tonight."
There are many leitmotifs in Bruciana, and surely The River marks one of them: holding on for dear life, to hope against hope. Springsteen speaks to that piece of us that's more than slightly insane, the part that keeps going back to that empty river bank, searching for cool sweet water, like a miracle may happen. Bruce speaks to what is crazy enough in us all to still believe, and to know that belief is sometimes enough. That same deep mournfulness in The River is felt in the elatedness of Thunder Road, a song in which the good news is that "All the promises will be broken", but the narrator still promises Mary that "It's a town full of losers / And I'm pulling out of here to win." Vows and commitments tend to lead to loss in the long term of a Springsteen song, but the immediate fulfilment of joy is never a bad idea. In this regard, Bruce is, after all, a true rock'n'roller.
But he is also really one of us, in all our dissatisfaction and dismay. The enlightened people in the world tell us that it's not having what you want; it's wanting what you've got. But the characters that roam through a Springsteen song are more like the rest of us: they are dirty. Like the guy in State Trooper, who chided us: "Maybe you've got a kid / maybe you've got a pretty wife /the only thing that I got's been both'rin' me my whole life." Now that's bleak, but no bleaker than the way it is for a lot of us. You can have a mountain of things or a mountain of debt and still have the icky feeling that it's all just a pain. And Bruce - who's looked at life from both sides - knows this only too well.
Both sides is also a big Springsteen theme. No other songwriter has struggled more rewardingly, over so many years, with how difficult it is to be good when being bad is so much a part of you. Bruce's characters don't merely mess up: they travel across rivers, drive down lonesome highways, cross rusty old bridges to make a mistake that they know they are about to make, they push against the pull because "It's so hard to be a saint when you're just a boy out on the street." Asked to reason with the damage done, like murderer Charlie Starkweather after his killing spree through the city of Lincoln in the song Nebraska, they don't bother to make excuses: "Well sir I guess there's just a meanness in this world." Or they figure it's just in their blood, a disease of generations: "Daddy worked his whole life for nothing but the pain / Now he walks these empty rooms looking for something to blame / You inherit the sins, you inherit the flames / Adam raised a Cain."
Never quite the genius of language that Bob Dylan is - no one is nor will anyone ever be - what Springsteen lacks in lyricism, he makes up for in communication: he is among us in a way that Dylan is forever separate. Bruce is always hoping his audience will get it; he's going for comprehensibility in all the places where Dylan might be looking for his own laughable obfuscation. That's the richness in all Springsteen lyrics: the narrator feels for everybody - the good and the bad, the ugly and the gorgeous - and most especially for the person out there who happens to be listening to, or reading, the words. Bruce Springsteen is, above all, a songwriter of the people, for the people, by the people.'
I'm doing good. I have a ridiculously easy life over here. We'll meet up again one day in the not-too-distant at another PJ show.
Damn! That's....fucking great.